Posters for the Racial Inequality Conference. This 2-day interdisciplinary conference at CUNY’s Center for the Humanities recognizes the urgent need to look at the enduring problem of racial inequality from distinctive perspectives: philosophy, political theory, ethnic studies, critical psychology, urban studies, gender theory, and anthropology.

The blackness of Signal Compressed is used to claim title and dates of the conferences. The designers of Partner & Partners stretched, squeezed and messed up with the typeface to obtain maximal loudness and impact. Practical information is set in Atlas Typewriter.

In 2013, Chevalvert studio designed the visual identity for the second edition of Fabfest, a cultural & technological innovation festival taking place at la Gaîté Lyrique, Paris.

The identity is built around abstract geometrical shapes, a RGB colour palette and an early beta version of Simon Renaud’s Tuner typeface, used across all the communication: program, posters, flyers, illustrations, signage and webdesign. Tuner, although looking monospaced is actually a proportional typeface, but this gimmick allowed Chevalvert to mimick programming code in their design: HTML tags, slashes, dashed lines, duplicates glyphs…

The A5 program booklet unfolds into an A2 poster devoid of any glyphs.

Tuner has since been slightly redesigned for some letters (Q R W a w), refined and expanded to a complete family with matching obliques and is now available at Production Type.

Baltimore Center Stage is one of the most prestigious regional performing arts companies in the U.S., a forefather of independent theater that presents innovative productions of classical and contemporary works. Concurrent with a major revitalization and renaming of the theater, Pentagram has designed a new brand identity, program of environmental graphics and website that captures the dynamic spirit of the institution and highlights its Baltimore roots.

The logotype is set in Ano, a monoline sans serif with a wide-ranging family of fonts. The identity employs the entire suite of variations, using them as a flexible toolkit for various components of the branding and the individual productions.

Comedy Feast is a new roaming family festival combining three of life’s greatest pleasures — food, drink and laughter. For the launch of the pilot experience at Lincolnshire Castle, Only were commissioned to create a simple brand identity that would inspire audiences to engage with the experience. Over time, the identity would need to flex to accommodate new locations spanning the length and breadth of the UK.

The identity is set in a bespoke version of Krana Fat by Schick Toikka. The typeface was chosen for its flamboyant and unexpected character. A playful graphic line device mischievously intersects with the typography across applications.

I adore anything @aaronsprinkle does, and his new band Blank Books has an awesome EP out. I love it so much I made my own packaging concepts for it and they are allllmost as rad as the album. http://blankbooksband.com/releases — @EephusLeague on Twitter

Maelstrom is the large yummy type, which I chose because it's so good for large-scale because of its insane thick-to-thin contrast. You can use it large and it still lets air through because the strokes get so slender. Proto Grotesk is used on the CD itself and the vinyl concept, and I found it's odd angularity and the AWESOME spur on the "a" were really nice compliments to the curves in Maelstrom. It's got the same svelte lines against blocky slabs. I used Untitled Sans on the wrap sticker, because I wanted that to feel like a neutral, utilitarian addition to the "extra" of the rest of the design—an imposition necessary to share all the information necessary for the album instead of a flashy stylistic detail. [1]

Rabble is “a boutique hotel, restaurant and bar located in the heart of Edinburgh.” The identity was designed by Touch, making use of various members of the Alias Ano family including its Wide styles where upper case characters are the width of a square, and lower case half the width of a square:

Taking a cue from the name, we created a playful yet considered identity that uses typography to dramatic effect. The unique letterforms are interchangeable in scale, width and weight — giving the identity and supporting materials for the venue a more eclectic feel in application.

The international cinematographic meeting brought together nearly 600 filmmakers, producers, distributors, operators, representatives of TV channels, the Internet and public authorities to discuss the major challenges facing the cinema and the audiovisual sector.

Based on a distorted Stratos typeface, the modular system is built around cinematographic motions and rhythms: editing, travelling, perspectives but also chronophotography from the Burgundian Étienne-Jules Marey.

Ohaguro is a custom of dyeing one’s teeth black. It was most popular in Japan until the Meiji era. Tooth painting is also known and practised in the southeastern parts of China, Pacific Islands and Southeast Asia. Dyeing is mainly done by married women, though occasionally men do it as well. It was also beneficial, as it prevented tooth decay, in a similar fashion to modern dental sealants. — Wikipedia

A bold type-driven identity for Barcelona’s Artte bar by designer Gerard Marin. Anostencil and a mix of not-often used versions of Ano — Upper Lower and Wide in Regular, Italic and Back Italic — are used.